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02/15/2006 11:11:59 PM · #76 |
Originally posted by phylsy7:
I just went to dictionary.com for the definition of "duotone". It reads "Any picture printed in two shades of the SAME color." |
Don't trust everything you read on the internet.
bear_music has it right (a ways back) from about every aspect. You really don't need to sweat it so much, IMO -- if it looks like what most people consider a duotone, thet's what they'll think it is, regardless of the technical niceties.
For example, using Photoshop's Duotone Mode, any particular tonal value can be assigned any of 10,000 different combinations of the two inks -- use yellow and blue or yellow and red and you can make lotsa purty colors.
Personally, my two favorite duotone ink combinations are Black+PMS 143 (orangey-brown -- see example below) for a warm/sepia look, or Black+Cyan for a cool/selenium-toned look. If you use black, make sure the second color isn't too dark or you can plug everything up.
Also, if you do use Photoshop's Duotone mode, you must convert the file back to RGB mode before you save it as a final JPEG.
Message edited by author 2006-02-15 23:46:47. |
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02/16/2006 05:35:23 AM · #77 |
Originally posted by Qiki:
i see this thread is still bubbling along. has anyone come up with definitive answers to the following 2 questions:
1. are b/w or sepia actually duotones or will submitting them just get me a bunch of DNMCs?
2. if b/w and sepia are not duotones, can i legally produce a duotone with pspx? |
1. I'd say b/w or sepia are monochromes, but looking at DuotonesI you'll probably won't risk DNMC comments.
2. No. Look at this thread. I'm working on a tutorial to do it for advanced editing though.
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02/19/2006 10:43:36 PM · #78 |
Originally posted by Bear_Music:
To make a B/W image using color channels in Photoshop:
1. Open color image
2. In Layers pallette, click "channels" tab at top and view each channel indvidually by turning the others off. Decide which of the three channels (R, G, or B) is closest to your desired result.
3. Go to image/adjustments/channel mixer
4. Check "monochrome" box lower left
5. Be sure "output channel" at top is "gray"
6. Play with the sliders to adjust the relative inputs of the red, green and blue channels
As a rule of thumb, the TOTAL percentages should be 100%. An all-red-channel conversion, which is what I used on this image, is 100% red and 0% green and blue. Sometimes one of the other channels is the best one, sometimes a mix of all 3 gives the best results, or 2 of the 3. You might have 80% red, 20% blue, 0% green, whatever.
This is your B/W conversion. If you want to use Photoshop's "duotone" mode, you will need to to take this red-channel conversion and...
1. Go to image/mode and select "grayscale".
2. Click OK when it asks about discarding color information.
3. Go to image/mode and select duotone.
4. click each of the color swatches in turn and select the base colors for your duotone: in this case, it was black and a warmish brown color. It could be anything.
In both scenarios, the converted images can be further adjusted with levels, curves, brightness/contrast before or after duotoning, although in this case I just blitzed through and did no adjusting, only converting.
Hope this helps...
Robt. |
What advantage is there to doing the first part before selecting the grayscale mode? Or are these intended to be two ways of creating a grayscale before creating a duotone? Thanks for all your helpful posts.
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02/19/2006 10:45:38 PM · #79 |
| You can usually get a better looking grayscale using the first part; it gives you more control. If you want simple, just skip it and convert to grayscale. |
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02/20/2006 12:04:54 AM · #80 |
Originally posted by dahved:
What advantage is there to doing the first part before selecting the grayscale mode? Or are these intended to be two ways of creating a grayscale before creating a duotone? Thanks for all your helpful posts. |
If you open a color image and either desaturate it completely or convert directly tp grayscale, the conversion is based strictly upon the luminance values present in the original, regardless of the colors. Many times this will produce a fairly muddy-looking grayscale image. Imagine a shot consisting of a red square superimposed on a green BG. Imagine that both red and green are of equal luminance; they vary only in their COLOR. This shot has lots of contrast in the color version, and in the greyscale version it may be almost impossible to differentiate the square from the BG.
Do a pure red-channel conversion and the red square will be very bright and the green BG very dark. Do a conversion with more of the ree channel but some of the green channel and you can vary the difference between BG and square. Do a pure green-channel conversion to get a black square on a bright BG. Learning to minx 'n match the different channels gives you complete conmtrol over the expressed tonality of the final B/W image.
It's similar to what you could do with film by using red, green, blue filters, basically, but much more flexible.
As an aside, in general, in the average picture, the red channel has more "information" than the other channels, so it's a good place to start with for your conversions.
Robt.
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02/20/2006 12:24:57 AM · #81 |
Thank you, sir. I appreciate it.
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